语言中的隐喻是人类认知活动的反映和手段,是一种与语境密切相关的语言使用现象。篇章隐喻作为隐喻学当中主要的门类,在文学作品的研究当中发挥着重要作用。本文以中国浪漫主义长诗《离骚》和意大利文艺复兴代表作《神曲》为研究对象,...语言中的隐喻是人类认知活动的反映和手段,是一种与语境密切相关的语言使用现象。篇章隐喻作为隐喻学当中主要的门类,在文学作品的研究当中发挥着重要作用。本文以中国浪漫主义长诗《离骚》和意大利文艺复兴代表作《神曲》为研究对象,以两部作品中较为典型的隐喻为材料,以修辞学为视角,分析其宗教意义、认知意义和文化意义。通过本文研究表明,两部作品篇章隐喻的表现方式有所不同,《离骚》以博喻式篇章隐喻为主,而《神曲》则以寓言式篇章隐喻为主。篇章隐喻表现形式的差异与社会意识形态、民众价值观念、民族文化观念密不可分。本课题在研究视角、语料范围、研究方法等方面具有一定的创新性,对中意文化典籍的比较研究和深入理解两个民族的文化异同具有积极的意义。Metaphor in language is a reflection and a means of human cognitive activity, and it is a kind of language use phenomenon closely related to context. Chapter metaphor, as a major category in metaphorology, plays an important role in the study of literary works. This paper takes the Chinese Romantic poem Li Sao and the Italian Renaissance masterpiece The Divine Comedy as the research objects, takes the more typical metaphors in the two works as the materials, and analyses their religious, cognitive and cultural significance from the perspective of rhetoric. Through the study of this paper, it is shown that the expressions of chapter metaphors in the two works are different, with Li Sao being dominated by the metaphorical chapter metaphors of Bo, and The Divine Comedy being dominated by the allegorical chapter metaphors. The differences in the expressions of chapter metaphors are inextricably linked to social ideology, popular values, and national cultural concepts. This project is innovative in terms of research perspective, corpus scope, research methodology, etc., and is of positive significance to the comparative study of Chinese and Italian cultural texts and the in-depth understanding of the cultural similarities and differences between the two peoples.展开更多
象似性是当代认知语言学的一个重要理论分支,也是一种修辞手段,象似性从语言符号的本质出发,研究和论证符号的能指和所指之间存在的一种自然的可论证的联系。其在诗歌创作中运用频率较高,逐渐成为增加诗歌韵律、升华文学作品艺术情感的...象似性是当代认知语言学的一个重要理论分支,也是一种修辞手段,象似性从语言符号的本质出发,研究和论证符号的能指和所指之间存在的一种自然的可论证的联系。其在诗歌创作中运用频率较高,逐渐成为增加诗歌韵律、升华文学作品艺术情感的独特写作手法。《楚辞》是中国文学的两大源头之一,而《离骚》是《楚辞》的代表作,是由战国时期诗人屈原创作的抒情诗,该诗歌文化意象丰富,也引无数学者为其折腰。纵观国内外,《离骚》的英译本有十几个,在众多译本中,许渊冲的英译版相对来说叫权威和受欢迎。本文基于语音象似、数量象似、对称象似和隐喻象似四个方面解读许渊冲英译版《离骚》中的象似性,尝试探蹊文学作品的整体结构与意义之间的关系。Iconicity is an important theoretical branch of contemporary cognitive linguistics and a rhetorical device. Starting from the essence of linguistic symbols, it studies and argues for a natural and demonstrable connection between the signifier and signified symbols. It is frequently used in poetry creation and has gradually become a unique writing technique that increases poetic rhythm and elevates artistic emotions in literary works. “Chu Ci” is one of the two major sources of Chinese literature, and “Li Sao” is a representative work of “Chu Ci”. It is a lyrical poem created by the poet Qu Yuan during the Warring States period. The cultural imagery of this poem is rich, and it has also attracted countless scholars to bow to it. Throughout the country and abroad, there are more than ten English translations of Li Sao, among which Xu Yuanchong’s English translation is relatively authoritative and popular. This article interprets the similarity in Xu Yuanchong’s English translation of “Li Sao” from four aspects: phonetic similarity, quantitative similarity, symmetrical similarity, and metaphorical similarity, attempting to explore the relationship between the overall structure and meaning of literary works.展开更多
文摘语言中的隐喻是人类认知活动的反映和手段,是一种与语境密切相关的语言使用现象。篇章隐喻作为隐喻学当中主要的门类,在文学作品的研究当中发挥着重要作用。本文以中国浪漫主义长诗《离骚》和意大利文艺复兴代表作《神曲》为研究对象,以两部作品中较为典型的隐喻为材料,以修辞学为视角,分析其宗教意义、认知意义和文化意义。通过本文研究表明,两部作品篇章隐喻的表现方式有所不同,《离骚》以博喻式篇章隐喻为主,而《神曲》则以寓言式篇章隐喻为主。篇章隐喻表现形式的差异与社会意识形态、民众价值观念、民族文化观念密不可分。本课题在研究视角、语料范围、研究方法等方面具有一定的创新性,对中意文化典籍的比较研究和深入理解两个民族的文化异同具有积极的意义。Metaphor in language is a reflection and a means of human cognitive activity, and it is a kind of language use phenomenon closely related to context. Chapter metaphor, as a major category in metaphorology, plays an important role in the study of literary works. This paper takes the Chinese Romantic poem Li Sao and the Italian Renaissance masterpiece The Divine Comedy as the research objects, takes the more typical metaphors in the two works as the materials, and analyses their religious, cognitive and cultural significance from the perspective of rhetoric. Through the study of this paper, it is shown that the expressions of chapter metaphors in the two works are different, with Li Sao being dominated by the metaphorical chapter metaphors of Bo, and The Divine Comedy being dominated by the allegorical chapter metaphors. The differences in the expressions of chapter metaphors are inextricably linked to social ideology, popular values, and national cultural concepts. This project is innovative in terms of research perspective, corpus scope, research methodology, etc., and is of positive significance to the comparative study of Chinese and Italian cultural texts and the in-depth understanding of the cultural similarities and differences between the two peoples.
文摘象似性是当代认知语言学的一个重要理论分支,也是一种修辞手段,象似性从语言符号的本质出发,研究和论证符号的能指和所指之间存在的一种自然的可论证的联系。其在诗歌创作中运用频率较高,逐渐成为增加诗歌韵律、升华文学作品艺术情感的独特写作手法。《楚辞》是中国文学的两大源头之一,而《离骚》是《楚辞》的代表作,是由战国时期诗人屈原创作的抒情诗,该诗歌文化意象丰富,也引无数学者为其折腰。纵观国内外,《离骚》的英译本有十几个,在众多译本中,许渊冲的英译版相对来说叫权威和受欢迎。本文基于语音象似、数量象似、对称象似和隐喻象似四个方面解读许渊冲英译版《离骚》中的象似性,尝试探蹊文学作品的整体结构与意义之间的关系。Iconicity is an important theoretical branch of contemporary cognitive linguistics and a rhetorical device. Starting from the essence of linguistic symbols, it studies and argues for a natural and demonstrable connection between the signifier and signified symbols. It is frequently used in poetry creation and has gradually become a unique writing technique that increases poetic rhythm and elevates artistic emotions in literary works. “Chu Ci” is one of the two major sources of Chinese literature, and “Li Sao” is a representative work of “Chu Ci”. It is a lyrical poem created by the poet Qu Yuan during the Warring States period. The cultural imagery of this poem is rich, and it has also attracted countless scholars to bow to it. Throughout the country and abroad, there are more than ten English translations of Li Sao, among which Xu Yuanchong’s English translation is relatively authoritative and popular. This article interprets the similarity in Xu Yuanchong’s English translation of “Li Sao” from four aspects: phonetic similarity, quantitative similarity, symmetrical similarity, and metaphorical similarity, attempting to explore the relationship between the overall structure and meaning of literary works.
